White Shield, 1998 - 1999

In the collection of the Art Gallery of Nova Scotia, Halifax, NS Canada

Italian marble, steel stand; 41” x 51” x 10” ( 105 x 130 x 25 cm)

It is a shield-like shape that is based on the investigation of a sand-dollar as an object. The white shield is carved in white Italian Marble and is about 105 x 130 x 25 cm in size. I was working
on this piece parallel to the "shield"-drawings. Initially I thought about having a large shield cast in bronze and finish it with a white patina. Yet as I started to think about its significance in
regard to the human body, I decided to carve it out of white stone. To me - bronze as material would imply a strong connection to the earth (in reference to its coming into existence through a liquid
stage and its mineral consistency), as well an element of sound would have been involved, which I did not want. Last but not least, it would refer to cultural artifacts, shields that were
manufactured as armament. My shield is not meant to be seen as an instrument in service of the human body, moreover, the relationship that I am seeking in that piece is meant to be an experience with
a thing as an identity.

The white, standing shield in stone reflects clearly on our uprightness. It relates to the body - a walking element in space - as a standing/resting counterpart.

Like a body, the shield embraces space; from the front and the back it is large and massive, yet if you look at it from the side, it has an intimate size. Intrinsically to the shape is, that it
has to be held upright. It has to lean against something which indicates a rest, a balance as well as a potential for relocation. In connection to a purposefully constructed stand this emphasizes the
inherent duality of the shape; it is a large and heavy piece, yet not meant to be seen stable in its position.

It has a front and a back and comparable to what I described for the maquette for Reflection/Shield - the form has an edge that is incised by a groove. It bears a finger-size hole just above the
center of its back.

The division-line is not continued around the bottom edge, yet surrounds the piece in order to emphasize the "touching" of two elements, the embrace of an inner space.